Originally Posted by stevieray (Post 14885424)

Man, another sad reminder of how fortunate I was to grow up during the 70s.

You ALWAYS sang along with Bill. When I think of soul, he's one of the few who come to mind.

RIP

Originally Posted by Dartgod (Post 14885429)

Another face on Knuckleheads?

Originally Posted by stevieray (Post 14885432)

Kenny is going up, wouldn't surprise me if makes it, too.

Originally Posted by stevieray (Post 14885432)

Kenny is going up, wouldn't surprise me if makes it, too.

Originally Posted by Dartgod (Post 14885489)

Oh shoot, didn't even think of him. I'll have to get down there some day to see all your work.

When this shit is all over, lets get out on the golf course and have a few beers. :toast:

Originally Posted by FAX (Post 14885257)

Just one poster's opinion ...

"Ain't No Sunshine" is great for many reasons ... but mainly because it is clandestinely and surreptitiously simple. The lyrical hook is, of course, phenomenal in that it says everything you need to know about the writer/singer in a mere six words and conveys an emotion that everyone has felt (at some point) using a metaphor that is universal. Big points for that.

Then there is the base line that punctuates and accentuates the hook. Just a simple 3 note run that brings you back to the I in the progression. Very "Beatlesesque" in that way. The wonder and delight is that it's so simple, direct, and entirely adequate to emphasize the hook as well as the second and last line of each verse. Why use 4 notes when 3 will do? Some might call it "basic". I call it "elegant".

It's also written entirely in a minor key and uses minor chording throughout. Very few songs don't rely (at some point) on a major chord anywhere in a song in order to offset, emphasize, and augment the minor key. This one does, however. It keeps the song simple while maintaining the mournful, plaintive, overall tone of the message. Pretty unique in that way.

Finally, there is the break. It's proto-rap. That's what it is. A complete breakdown in which the tonal instruments are absent and the writer/singer uses the rhythm section and the syncopation of his voice to draw the listener deeper into the message and set up the hook once more. It's a classic application of mandating listener anticipation. And, of course, it's memorable as hell.

Simply a standout song that any writer of any era would be proud to call their own.

FAX

Originally Posted by Randallflagg (Post 14884797)

....I know, I know, I know, I know, I know, I know, I know, I know - ain't no sunshine when she's gone, and she's always gone too long, anytime she goes away.


RIP Bill

Originally Posted by PunkinDrublic (Post 14884851)

Ain’t no sunshine is perfect. RIP.

Originally Posted by FAX (Post 14884891)

Pretty much.

I can't think of a single flaw in that song.

FAX